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Francesco Tacchini Space Replay (2014)
Space Replay, Francesco Tacchini’s helium-filled sphere, hovers in hallways and elevators, recording ambient noise and conversation via battery-powered Arduino and a hacked Adafruit Wave Shield. Then it constantly replays its sonic experience, bringing a delayed echo of activity to public spaces.
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Alice Anderson 181 Kilometers (2015)
Anderson walked 181 kilometres to ’spun’ an entire sphere with copper thread.
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Lyota Yagi Sound Sphere (2011)
An installation consisting of cassette tape wound around a spherical object and a device to play its sound. There is no start nor end of the tape on the sphere and it continues to move randomly, emitting noises. Varying sizes of globes are covered with a length of time that is proportional to their surface area. When linear time is wound around a sphere, it is deprived of the relationship between place and time, and thus also loses its meaning (or in other words, causes meaning to arise). Temporal relationships are a decisive factor in the recording of sound.
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Gerhard Richter Kugel I (1989)
stainless steel, polished
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Jack Whitten Lucy (2011)
Wood, stone, metal, paint, plastic, glass and clay
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Karina Smigla-Bobinski ADA (2011)
ADA – Analog Interactive Installation, is a kinetic sculpture by German-based artist Karina Smigla-Bobinski. The installation is made form an enormous helium-inflated sphere trapped inside a small room that’s spiked with dozens of protruding charcoal pieces which scrape the edges of the gallery wall as participants push, toss, and otherwise manipulate it.
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Helen Pashgian Untitled (1970)
Helen Pashgian uses industrial materials such as polyester resin to create objects with luminous effects, which has led her work to be considered part of the Light and Space movement that developed in Southern California in the 1960s. Light and color seem suspended in the spherical form of this untitled work, but they also exceed the boundaries of that form. As the viewer moves around the piece or as lighting conditions in the gallery change, colors meld and reflections shift, destabilizing the boundary between the interior of the sphere and its surface. Pashgian’s cast spheres, like other minimalist works, focus attention on the viewer’s perceptual experience, but they are also highly enigmatic objects that seem to glow with their own life.
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Martin C. Herbst SPHERE V. 33 (2017)
Oil/laquer on stainless steel sphere, 23 3/5 × 23 3/5 × 23 3/5 in
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Zhou Wendou ADHD (2016)
‘ADHD’ by Chinese artist Zhou Wendou features an ink-covered chrome sphere installation that is repetitively cleaned by windshield wipers.
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Jeppe Hein Spinning Ball (2008)
Sitting on a white plate, a reflective steel ball spins fast around its own axis. Appearing motionless from afar, the movement is only visible upon closer inspection.
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Yeesookyung Translated Vase-the Moon (2012)
Translated Vase-the Moon (2012), is a giant white sphere made from shards of broken porcelain, joined with 24-karat gold. Yeesookyung recovers fragments of jars that have shattered in the kiln and translates them into other geometrical forms.
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Petroc Sesti Vanishing Point (2013)
“Vanishing Point” is a large glass sphere filled with optical fluid that is stirred by a turbine. The kinetic movement of this large liquid lens moves the light captured from the striped walls in an undulating rhythm.
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RobertLovesPi Hyperdodecahedron (2013)
This regular polytope (four-dimensional version of a polyhedron) is rotating in hyperspace. If you could see it there, you’d notice that all 120 unit dodecahedral cells have the same volume.
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Jesús Rafael Soto Sphère Lutétia (1995 – 2014)
“In order to achieve abstraction, I thought it was important to find a graphic system that would allow me to codify a reality rather than represent it.”
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Ichwan Noor The Beetle Sphere (2013)
Jakarta-based sculptor Ichwan Noor arrived with this giant sculpture of a 1953 Volkswagen Beetle that, combined with polyester and aluminum, has been morphed into a perfect sphere.
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Olafur Eliasson Cold Wind Sphere (2012)
This geometrical structure is composed of spheres in three different sizes that are layered within each other. Glass triangles in three distinct shades of blue are fitted between these layers. The outer surface of the largest sphere is composed of an almost-transparent grey-tinted glass. A light bulb situated at the centre of Cold wind sphere casts shadows and reflections into the surrounding room in the shades of the individual glass pieces as well as in the colours created by their superimposition. The appearance of the sphere depends on the position of the viewer.
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Roger Asay and Rebecca Davis Cottonwood Sphere (2010)
We work through simplification and minimal arrangement to create a clarity that reduces the distance between the viewer and the materials presented.
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John Miller Storage Area (1999)
Storage Area is related to Miller’s well-known series of relief sculptures and assemblages, for which he appropriates everyday objects and waste material and appends them to basic forms. In 1986, he began smothering these arrangements with brown excrement-like impasto. Storage Area’s use of children model railways reflects the proliferation of mass produced objects that exist in two states: as symbols of material products in a capitalist society and plastic duplicates of “real” objects found inside a child’s playroom.
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Sarah Sze Triple Point (Planetarium) (2013)
Like most of Sze’s creations, Triple Point (Planetarium) looks as if it was produced through a certain fanatical obsession, but the work also relies on the aforementioned architectural principles to unite materials of wood, steel, stone, string, paper, plants, and more into her final environment. The exterior looks crazed and chaotic, but in detail Sze has arranged her objects into a very specific, rationalized order. Regardless, her choices are clearly not random, and leave her fantasy-like environment open to interpretation and narration for the public.
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Roni Horn Asphere (1988)
A few rooms into Roni Horn’s exhibition at Tate Modern, you come across a stainless steel sphere, like a big, gold bowling ball. But it’s is not as shiny as you might expect, given the material, and somehow more delicate. This may be because it isn’t quite a sphere. The fact that it’s not perfectly spherical makes it a more satisfying shape, though one I can’t quite grasp. Does this fact make it imperfect? It is perfectly itself. The artist has said that this ovoid shape is about androgyny, so maybe it’s a self-portrait.
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Michel De Broin Black Whole Conference (2007)
Michel de Broin is an artist who delights in toying with paradox by inviting competing references to take up residence in a materially manifest form. In this approach conceptual moorings are severed by aesthetically confronting the viewer with an assemblage that silences or troubles the ideas it purports to speak for. In his sculpture “Black Whole Conference” the artist uses ordinary chairs—the primus locus of collective discussion —as building blocks to construct a sphere that inscribes itself on several intertwined conceptual levels: that of a public sphere with its open, non-hierarchical and egalitarian communicational architecture, that of an immunological system that is closed upon itself to ensure internal cohesion by defending against external threats, and that of a voyage ready astronautic capsule.
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Takis Vasilakis Music of spheres (2010)
In 1955, influenced by the invention of radar and the technological landscape of the station at Calais, Takis constructed his first Signaux [Signals], soon turned kinetic and resembling radio antennas and serving in his street happenings. His installation The Music of the Spheres (2004), comprised of kinetic and musical sculptures, is inspired by the Greek ancient belief that every planet emits its own sound frequency in the solar system, a fact that nowadays has been proved scientifically.
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Carl Fisher Mario Sphere (1992)
This, one-of-a-kind, handmade polymer clay marble contains colorful bitmapped Mario cane slices surrounded by giant 3D-looking blocks in a rectilinear pattern that converges neatly at the poles.
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James Lee Byars The Monument to language (1995)
It is virtually impossible to place the work of James Lee Byars into a contemporary cultural context. Byars is Byars – a wonderfully engaging philosopher/artist, a creator of philosophemes. A man both of our age and of other ages. Byars is steeped in Italian Baroque aestheticism; he is a scholar of Japanese haiku and is adept at making Japanese ceramics and paper, and he is capable of combining the essence associated with Zen Buddhism with the starkness of ‘Protestant’ minimalism. He also watches MTV.
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Stano Filko Breathing (1970)
According to his birth certificate, Filko was born on June 15, 1937 in Veľká Hradná, a small village in the Trenčín District. However, the objective reality of the official record was constantly disrupted and layered by the author in the intentions of the ideal of “subjective-objective art” that originates in modern art. Influenced by conceptual art, Filko later turned to “merging art and life”. Instead of stating dates, the paintings and text arts especially from the late period feature a special triple date that says “13.14.15.JUNE”. This numerical code refers to the authenticated reality of Filko’s birth on June 13 and the official registration at the registry two days later.
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Bernd and Hilla Becher Spherical Gas Tank, Wesseling, near Cologne, Germany (1989)
Ferrotyped gelatin silver print on Agfa paper, 60.7 x 51.5 cm. Signed by both artists, dated, titled and editioned 2/5 in pencil on verso. – Slight crease to the upper left edge. Matted and framed under glass.
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Thomas Broadbent Rotating Moon (2017)
“Rotating Moon” will be on display at our new location at 48 Hester Street in the Lower East Side each evening starting at sundown .
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Oksana Mas Sphere of Kindness And Spiritual Revival (2017)
Ukrainian artist Mas has been using the Easter egg as a technique for more than a decade now. The same sizes of eggs are covered with the right paint and then with moisture-resistant lacquers, preservatives and color protecting from ultraviolet radiation.
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Neil Dawson Globe (1989)
‘Rather than suggesting weight and substance, like many traditional sculptures, Neil Dawson’s works represent lightness and transparency. They are often hung high above the audience so they can be both seen and seen through, and are created from materials such as steel mesh and carbon fibre. ‘Globe’ (1989), seen here suspended above the Centre Pompidou in Paris, is a prime example.
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Tony Oursler Switch (eye) (1996)
Real eyes are not so easy to read and people focus a lot of attention on them, trying to find something inside them. They are organs which constantly seek and watch and are in turn being watched. This eye is looking at television while surfing the channels, and we all do here in America. So you see the eye with a little TV image reflected within the iris. The pupil contracts and expands. It seems to be almost feeding. Sometimes you can hear the soundtrack and sometimes you can recognize the images and sometimes not, they are just too dim or small or far away. The reflections are random because at the time they are recorded they are broadcast live so I never know the combinations which will occur. I switch channels intuitively while recording the image. This is probably the only improvisational part of my work, surfing.
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Russell Crotty Summer Triangle over Chumash Wilderness (2003)
Russell Crotty is known internationally for his drawings on fiberglass spheres based on direct astronomical observation, investigating the cosmos and exploring the nature of the universe through art.
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Adel Abdessemed Soccer ball (2009)
“I just saw this ADEL ABDESSEMED show at DAVID ZWIRNER. It had a soccer ball made of razor wire. It was great and it reminded me of the painted can surrounded in razors in the film La Collectionneuse by ERIC ROHMER that we watched in your hotel room. You would like this exhibition, it was violent and soft.”
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Takeshi Murata Melter 3-D (2014)
The “Melter 3-D” is a a zoetrope, a pre-cinematic device that creates an illusion of motion from the rapid succession of static pictures. This 3D version implements a stroboscope, which essentially means that flashing lights are used in to illuminate the sculpture at the appropriate times to create an illusion of movement.
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Pipilotti Rist Your Space-Capsule (2006)
This work invites the viewer to peer from a cinematic angle. Looking down into the private space of what could be a teenager’s bedroom, a squat or student’s flat with a crashed-in planet, Your Space Capsule, 2006, reveals the way that the spaces that we occupy, fill up with daily detritus and that can make up the backdrop of our lives are only small fragments of space and time.
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Ryan Gander Really Shiny Things That Don’t Mean Anything (2011)
Ryan Gander’s work is composed around visual puzzles and unusually composed objects that subvert expectations at every angle. His practice aims to be a starting point, and his found and made objects suggest stories that deliberately resist closure. More really shiny things that don’t mean anything, a large assemblage constructed from pieces of reflective industrial metal, can only be fully viewed from the window of the gallery, as its placement within the room obstructs the doorway entrance. This blockade frustratingly limits the extent to which we are permitted to engage with the work, but this is tempered by something coy and slightly ridiculous: the idea that something of this magnitude is attempting, given the reflective quality of its surface, to somehow camouflage itself or hide from the frustrations it evinces.
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Joe Hamilton Ballface (2010)
Tracking & compositing experiment.
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Robert Longo Death Star II (2017)
Created in response to the exponential proliferation of mass shootings in the United States, Robert Longo’s Death Star II consists of a suspended globe studded with 40,000 copper and bronze full metal jacket bullets. The work is a sequel to Longo’s original 1993 sculpture Death Star, though more than twice as large and housing more than double the number of bullets, reflecting the frightening increase in mass shooting incidents in the United States in the last 25 years.
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p.s. Hey. ** Dominik, Hi!!! We’re definitely birds of a feather. Ha ha, the camera shirt was an option for me too, but it was a little too homely, even to someone who has to wear blah organic garb like me. Well, they’re called Thee Alcoholics, but, yes, I think your conjecture is likely correct. Pretty, young, but horribly far sighted love’s excitement when he opened the newspaper in 1801 and read that contact lens had been invented, G. ** L@rst, Hi. I had a wee bit of a crush on Illya Kuryakin. I just read the other day about the Earth documentary. So, no, not yet. It is very strange that Sunn0))) or at least Stephen isn’t interviewed in it. He and Dylan are pretty tight. I’ll ask him why not. ** Misanthrope, Whoa, okay. Well, then, may Cupid keep you two within firing range. ** _Black_Acrylic, Glad you liked those tracks. Zac and I are angling to get a 7038634357 track to play over our film’s closing credits if he’ll let us for a minimal charge. I’m gonna hit those two links as soon as I’m back from the studio today, thank you, sonic maestro. ** Steve Erickson, Thank you, Steve! I’ll hunt down those Psychic Hotline LPs and have an ear-centric gander, thanks. Everyone, A twofer from Mr. Erickson today. First, his interview with Ethan Coen and Tricia Cooke, and, secondly, his review of Mary Timony’s UNTAME THE TIGER. ** Mark, Hi, bud. Yeah, I heard about the drenching. LA has gone crazy (at long last). Trulee Hall’s show looks fun. And a GIF header! Wow, it’s Frieze time already? Sad to miss it. So, you are definitely coming for the Ass? T’would be sweet. ** Sypha, ‘Cracked’ was the better of the Mad knockoffs. ‘Sick’ was the weaker. Faves shake-up. Exciting. Has Justin Isis’s anti-Current 93 ranting had any influence on their potential slippage? ** Otto, Hi, Otto! Awesome to meet you! Especially under the circumstance that you appear to be a fellow GbV fan. We gotta stick together. I’m very happy you came in and that this place has grabbed some of your attention. Goes without saying that please feel more than free to come and hang out/talk. etc. any time the urge may strike. What’s going one with you? Take care! ** Bill, Hi. The Melvins remain godlike. I thought that recent clip of them was nuts. I kind of figured ‘Kingsman’ was an in-flight only possibility, but good t have that presumption confirmed. Are you guys in SF getting a parcel of all of the supposed heavy wetness out there? ** Darby 🎡, Hi. She has a new album, I think I read. What’s-her-name, the Portishead person. I’m good, quite mentally fried from the marathon film work, but fine, yes. And you? Hm, I could theoretically do a dung beetle post, it’s true. There must be some swell gifs. Lovely to see you, pal. ** Justin, Hey, J. I do want and intend to see ‘Zone of Interest. I think it’s the only ‘best picture’ candidate I’m hot for. Good to know. Friends say that it should be seen in a theater because the sound is so much a part of it, so I’ll see if it’s offer in ours. What else is news with youse? ** Uday, Hi! Oh, okay, that’s interesting. What ‘serious fluid’ is, I mean. No, I don’t think it has made an appearance in my work maybe only because I didn’t know its name. Although it may have appeared by accidental inference or something. I’ll endeavor to employ it. Thank you. No, I’m an anarchist, so I’m really not into mandating. Just offering and having high hopes for me. Any special interest of yours that you’d make the basis of a law if you had the powers? ** Okay. Today I ask you to find pleasure and interest in the spherical. See you tomorrow.
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